Wordiezett So much average
Contentar Best movie of this year hands down!
Portia Hilton Blistering performances.
rbrb Odiously portrayed German woman living in the States with her equally repulsive father, decides for no logical reason to reveal to a complete stranger the history of a family painting. Then in flash-backs we have an often confusing yarn of the misfortunes which arose from this artwork from the 1700's; the story is suddenly turned to 200 years ahead and we are subjected to the usual propaganda about Nazi's, persecution, the long walk to the concentration camps, etc etc. The lead actress is a complete ham and what I resent is how the movie attempts to lecture us for the zillioneth time on the evils of the world disguising their posturing as the history of a work of art. 1 out of 10.
njbpitt ***SPOILERS AHEAD***
If there is a movie to be made about tracing the owners of a lost Vermeer to the present, this is not it. Of course, Glenn Close was wonderful as Cornelia, the mousy school teacher who brings the new art teacher to her house to see the Vermeer stolen by her Nazi father. That this woman would bring a total stranger to her house and risk her ill father's exposure and the painting's removal is only made plausible by Close's slightly insane performance. Would that there were more of it! Instead we are given several disjointed and not-very-involving stories of early owners of the painting. Not one of them shed any light on the punny title, "Brush With Fate". Brush--painting, get it? I was hoping for some connection with the art teacher and Vermeer, or have Cornelia and him be related in some way. But this shaggy dog story of a movie just left me wondering why I had wasted my time
danielkonik This film is a history of a painting and the people who owned it over 300 years. It is told backwards through flashbacks, from its current owner, an eccentric art professor (Glenn Close) to its origin. Each chapter tells of the price they paid for their love of the painting. The individual stories are all involving, and there is a rather morbid twist at the very end you won't see coming. Two hours well-spent.
Albert Sanchez Moreno I suffered through half this film before I switched to "Dr. Strangelove" on TCM. It is yet more proof that the "Hallmark Hall of Fame" has become hopelessly bad. Glenn Close misleadingly gets top billing, and delivers a magnificent performance, but she is in less than a third of the film. Her performance as an art enthusiast makes everyone else, including the usually reliable Ellyn Burstyn, seem even worse.The film, following the pattern of such films as "The Red Violin", tells the stories of several owners of a beautiful lost Vermeer painting through the centuries. Perhaps the producers of this mawkish telefilm were hoping that lightning would strike twice, but if so, they forgot the need for subtle writing and direction, which are both hopelessly sentimental and hardly above the level of soap opera in this film. Ms. Close, as if sensing this, gives a performance that wipes away everyone else. In fact, the acting, with the exception of Close, is uniformly bad, as if we were watching a bad daytime drama in period costume.The people who made this film obviously thought that by tackling an intellectual, sophisticated subject like a great Vermeer painting they could give the "Hallmark Hall of Fame" the class it once had, but they forgot to leave behind their recent tendency for corny writing and dramatics.
